Fig. 61.
GRÉTRY.
Upon the appearance of André Ernest Modest Grétry, (1741-1813), we come to a real genius, although not of the first order. He was the son of a poor violinist of Liege, Belgium, and when about sixteen years of age he composed six small symphonies and a mass. The latter gained him the protection of the canon of the cathedral who sent him to Rome, where he pursued his studies with very little credit. After producing one small work in Rome, he made his way to Paris, and his first opera, "Le Huron," was successfully produced in 1768. This was followed by more than fifty operas of all sorts, some of which still survive. Grétry was a very charming man, and wrote upon music and other subjects in a pleasing manner. His importance in the history of music is due more to the number of works by him, than to their striking musical qualities.
Another remarkable musician of this period in France was François Joseph Gossec (1733-1829), who also was a Belgian from Hainault. His early training was obtained in the cathedral at Antwerp. He came to Paris in 1751 and became a pupil of Rameau. He conceived the idea of writing orchestral symphonies, and produced some pieces of this kind in 1754, five years before the date of Haydn's first. In 1759 he published some quartettes. In 1760 he produced his best, "Messe des Morts," in which he made a sensation by writing the "Tuba Mirum" for two orchestras, one of wind instruments concealed outside. Berlioz probably derived an idea from this. He wrote twelve operas which were successfully produced, twenty-six symphonies and a variety of other works. He founded his amateur concerts in 1770, and his sacred concerts in 1773. In 1784 he organized his school of singing, out of which the Conservatory of Music was afterward developed. Upon the foundation of the conservatory, in 1795, he was appointed inspector with Cherubini and Méhul. His influence upon the general development of music is local to Paris, where he did more to enrich opera on the instrumental side than any other composer of the eighteenth century.
Étienne Henri Méhul (1763-1817) was another of these prolific composers of light operas. Son of a cook at Givet, he had passion for music, and soon became a good organist. At fourteen he was deputy organist, and in 1778 he arrived in Paris and at once commenced to study and teach. The next year he was so fortunate as to listen to Gluck's "Iphigenie en Tauride," which made a great impression upon him. He called upon Gluck himself in order to express his admiration, and, in consequence of the encouragement received from the eminent composer, he proceeded to write three operas, one after another, which are now lost. His fourth was accepted at the Academy, but not performed. Finally his "Euphrosine et Coradin" was produced at the Opéra Comique in 1790. The public immediately recognized a force, a sincerity of accent, a dramatic truth, and a gift of accurately expressing the meaning of words, which always remained the main characteristics of Méhul. Within the next seventeen years he produced twenty-four operas, besides a large number of cantatas and other works. Upon the whole, this sincere master must be regarded as one of the most eminent in the history of French opera.
Somewhat later in the operatic field was Jean François Lesueur (1763-1837). After serving as a boy chorister at Abbeville and Amiens, he came to Paris, where in 1786 he was appointed musical director at Notre Dame, and distinguished himself by giving magnificent performances of motettes and solemn masses, with a large orchestra in addition to the usual forces. His first opera, "La Caverne," was produced in 1793, after which he wrote four others, as well as three which were never performed. In the line of church music he was much more productive, and one might say, more at home. His music is marked by grand simplicity. As a teacher in later life he was very celebrated, among his pupils being the greatest of French masters, Berlioz.
Fig. 62.
BOIELDIEU.